Taylor Swift’s unfathomable ability to articulate human emotion shines as brightly as ever in her latest double album The Tortured Poets Department: The Anthology. The 31 track collection combines the gentle melodies of previous albums folklore and evermore, the soul baring chaos of Red, the cool synth-pop production of Midnights, and the extreme vulnerability and intricate storytelling that is persistent throughout her entire discography.

At 24, Bradfordian Nia Archives has already clearly marked out her musical territory.

While many of her Gen Z contemporaries have embraced the rave, jungle and drum’n’bass sounds of the early-mid 1990s, she’s done it more wholeheartedly than most: particularly rebuilding the rolling breakbeats and deep bass of jungle as a kind of British urban folk music, collaborating with older generations (original junglists DJ Die and Randall of Watch The Ride), and demonstrating how her natural Caribbean-influenced Yorkshire vocal articulation fits perfectly into that. 

Half-way through this three-CD set, the energy level suddenly shifts upwards. It’s just one track of the 67 collected, but in this context this basic, blunt recording stands on its own. Issued in October 1974, Dr. Feelgood’s debut single “Roxette” was an early sign that British music could change, needed to change.

The second act of a trilogy, launched with “Renaissance” (2022), Beyoncé’s latest release has been loudly proclaimed as her “Country” album. In a tradition of surprising and controversial self-reinventions that includes among others Bob Dylan’s gospel albums and Ray Charles’s “Modern Sounds in Country and Western” (1962), the superstar has once again broken the rules of genre, and done her own all-too-remarkable thing – with the usual brilliance and panache.

“So Ends Another Life” is strange. Very strange. The song’s dolefulness is immediately set up with a strummed guitar along the lines of the intro to The Bee Gees’ “New York Mining Disaster.” “In a world of agitation, there’s no time for compassion” are the opening lyrics.

Dee C Lee was born Diane Sealy in London in 1961. She is best known for her 1985 hit “See the Day”, later covered by Girls Aloud, and for being in two of the Eighties' most notable pop acts, The Style Council and WHAM!. But she was also prolifically involved in multiple other musical projects, and now has a new album appearing, Just Something, her first in over 25 years.

On this, their 10^th album, the melodious Mancunians started at the drum kit and built from there. This is no bad thing.

Ariana Grande is the seventh most-followed Instagram account in the world (nearly 400 million). She has worked in promotion and/or “brand ambassador” positions with Reebok, Givenchy, Apple and many others. She is a successful film/TV star (about to go next level with Wicked). She has her own billion-selling perfume line. In an age when consumer capitalism has replaced religion in the west, she is a dream, an exemplar.

This album starts on an extremely literal note. The whole record is themed around Belgian born-and-raised Bolis Pupul’s explorations of the Chinese side of his heritage after his mother’s death in 2008, and his regrets at not having done so when she was alive. And the opening title track has him explaining precisely this, in a portentously pitched-down voiceover reading the titular letter to his mother.

In June 1969, The Beach Boys released “Break Away” as a single. A month earlier, they had announced they were leaving Capitol Records, who they had been with since 1962. The split with their long-term label came after the band sued for unpaid royalties and other business failings. “Break Away,” the last Capitol single, was aptly titled.